It is one of the ironies of French history that the revolution which brought with it the bourgeois king, Louis-Philippe, and a ‘middle-of-the-road’ official attitude to both culture and government policy should also have marked the beginning of the headiest decade of French Romanticism: the 1830s. Extremism and compromise coexisted in the form of several philosophies – artistic, religious and social – competing for attention. Added to which, the nature of Romanticism itself as a self-conscious movement defined as much by internal contradiction as anything else meant that living in Paris during the 1830s offered unparalleled intellectual and artistic stimulation. For a young man of Liszt's intellectual curiosity such bounties were not to be scorned. The city was effectively his university.

Salon culture was buoyant, populated by the major figures of French Romanticism: Delacroix, Sand, Vigny, Hugo, Musset, Lamartine, Berlioz, Chopin, Heine and Balzac. To this constellation of friends and acquaintances, Liszt could add his connections with Maurice Schlesinger's Revue et Gazette musicale (a mouthpiece for German Romantic ideas in France), his enthusiasm for the Saint-Simonians and for the Liberal Catholic philosophies of the Abbé Robert Félicité Lamennais and the writer and social philosopher Pierre-Simon Ballanche. Voracious reading extended from the Bible and the writings of St Augustine and Thomas à Kempis to Goethe, Byron, Montaigne, Voltaire, Hugo, Chateaubriand and the work of historians such as Michelet and Quinet.